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Parallel Stephen Edwards, Lead Colourist on Coronation Street While colourists and editors can work in parallel, in practice a ﬁ rst cut of the programme is made before the colourist starts to work. In general the look of the show is warm and welcoming, although steelier looks are sometimes used for dramatic emphasis. Outdoor scenes often need matching, given the changeable nature of the weather in Salford. The colourist picks up the AAF edit ﬁ le and sees the content on the ISIS. As the grade is worked on, more information is added to the AAF ﬁ le. When the programme is opened again in Avid – for more work, for ﬁ nishing or for viewing – Baselight for Avid interprets the grading information, including shapes, tracking information and keyframes, and gives each shot the same look that the colourist created. No render is required, and a full, complex grade is applied in a matter of seconds. If the producer wants to extend a shot or trim something, there is no need to regrade as the colour information follows the edit. If a director wants to tweak the grade, the ﬁ nishing editor can do it through Baselight for Avid: the ﬁ nishing suite has its own Slate control panel, which is a smaller footprint version of the Blackboard panel in the grading suite, but with the same high-quality controls. An episode can be completed – edited, graded, dubbed, ﬁ nished and signed off by the producer – without a single render having taken place. All the post information is metadata, imposed as effects in real time. The only time you need to ﬂ atten the ﬁ le is at the point of delivery. Over the course of each episode this workﬂ ow saves hours in terms of processing and moving large ﬁ les around. That makes a huge difference when you are working on television timescales and budgets. And at the same time as making savings, it also improves quality by making the decision-making ﬂ uid. Collaborative post-production has been something of a buzzword at the top end in recent years. What broadcast production facilities like ITV Studios have discovered is that there are real beneﬁ ts in applying the same principles to television. Even under the pressure of very tight timescales, you can still boost the quality and control the budget by applying smart technology. KITPLUS - TV-BAY MAGAZINE: ISSUE 97 JANUARY 2015 | 71